Sorry to say I do too.
That is an open question, at MB maybe closed. An EAM performance may range from improvisation by a live person on live electronics (also utilizing whatever physical objects at hand) to a mere ‘press PLAY’ with everything from conception of the work up to concert point (yes, with audience before or surrounded by ‘just’ loudspeakers galore) worked out with exactly the same care for result as ever.
I do not know this case, and the liner notes would be a mess to state details.
• 3rd version (CD 1991): Composed & produced by Ákos Rózmann at EMS, Stockholm 1990.4.
• 4th version (LP 2013): “Unabridged”, “revised at EMS/Elektronmusikstudion, Stockholm 2001 for a performance in Essen [Germany …] Composed & produced by Ákos Rózmann” with some assistance from Mats Lindström: “[Rózmann] was himself in charge at the mixer at the premiere, but was very unhappy with the result. Rózmann refused to be present at his own concerts as a rule, and would rely on me to take care of the performance. […] I went to the performance in Essen in his stead and before I left, we went through the piece in detail in the studio.”
Rózmann, for the 4th version, expanded from whatever material could lend itself from the 3rd version; but we do not know the state of this material (The CD release to just add to? Recorded tracks from that master, in any middle state of processing? Raw recorded sounds with written instructions, to begin anew?), thus cannot tell to what extent the 4th version is another 3rd, or an other. I am guessing the per se material was done by Rózmann alone as usual and, content with that but not the concert circumstances, instructed Lindström on how best to effect the piece (in-place mixer equipment, accompanying light effects) at the performance.
So, we should be looking at
• expansion by the composer, to 4th and final revision of a work.
• circumstantial tweaking by remote assistant; which may be of interest since classical works are often understood as ‘created’ through 1st performance – but, on the other hand, who may possibly be excused thanks to a little bold preposition here: “This recording is the 4th version of Images of the Dream and Death; revised at EMS/Elektronmusikstudion, Stockholm 2001 for a performance in Essen”. I think not too much read into it, that the work was done, revised and recorded before the Essen performance. (Probably the Stockholm master was performed in Germany with channels open for better mixing, a slight difference.)
And so, how to follow CSG here still hinges on human factor: I do not know.